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In 2020 the European Court of Human Rights received applications KlimaSeniorinnen and Others v Switzerland and Duarte Agostinho and Others v Portugal and 32 Others. Verein KlimaSerioninnen Schweiz is an association of some 2500 elderly Swiss women experiencing health issues due to rising temperatures. Applicants in the Duarte case are six Portuguese children and young people experiencing especially the mental health implications of the insufficient European climate policies. The applications claimed for the respondent governments to violate their human rights under Articles 2 (right to life) and 8 (right to respect for private- and family life) of the European Convention of Human Rights. The Grand Chamber of judges delivered decisions for these cases on April 9th 2024. The Court ruled in favor of the Swiss association KlimaSeniorinnen and rejected the rest of the climate change applicants on grounds of admissibility.  In my thesis project, I examine the 2024 decisions focusing especially on questions of victim status and causality. By discussing the rulings this thesis will map out criteria the potential climate change applicants must meet when seeking climate justice from the European Court of Human Rights.

Les Grandes Découvertes portugaises furent une étape fondamentale dans la rencontre entre Occident et Orient. Bien que l'Orient ne fût pas un territoire totalement inconnu des Européens, la distance et les difficultés que rencontraient les voyageurs occidentaux qui se rendaient en Orient à l'époque médiévale, faisaient des informations qu'ils transmettaient des denrées presque aussi rares et précieuses que les épices ou les étoffes pour lesquelles ils empruntaient la fameuse route de la soie. Le succès retentissant qu'a connu le récit de l'illustre explorateur italien Marco Polo témoigne de l'intérêt que l'Orient suscitait à cette époque. Ce récit marqua les esprits et continua de distiller merveilles et mythes dans l'imaginaire européen jusqu'au début du XVI° siècle. Aussi avant le premier voyage de Vasco de Gama (1497-1498) et malgré les échanges commerciaux de la route de la soie, la connaissance de l'Orient restait très approximative, voire parfois fantaisiste. À la suite de la découverte du chemin maritime vers les Indes, la rencontre des Portugais avec l'Orient permit d'actualiser cette connaissance. Les voyageurs portugais offrirent aux Européens des récits qui rompirent avec la tradition livresque médiévale, en reportant des observations faites in loco et donc plus proches de la réalité orientale. Mais bien que ces voyageurs aient contribué à la démythification de certains mythes associés à l'Orient, l'image de l'Orient que leurs récits transmettaient à leur tour, continua d'être régie par les lois de l'imaginaire. Notre thèse porte sur l'image renaissante de l'Orient et constitue une étude des images et symboles qui furent associés à l'Orient dans cinq récits de voyages portugais du XVI°. Afin de dégager les permanences et les évolutions de cette image, nous nous intéresserons dans un premier temps à l'image de l'Orient de l’Antiquité au Moyen Age, à travers toutes les informations qui circulaient sur ce dernier, de la littérature latine aux récits de voyageurs tels que Marco Polo et Jean de Mandeville, en passant par les débuts de la cartographie. Puis nous nous intéresserons à l'image renaissante de l'Orient à travers l'étude d'un corpus de cinq récits de voyages portugais que nous considérons représentatifs des différents aspects de cette nouvelle vision mythique de l'Orient et qui sont les suivants: Peregrinação de Fernão Mendes Pinto, Algumas coisas sabidas da China de Galiote Pereira, Tratado das Coisas da China de Gaspar da Cruz, Verdadeira Informação das terras do Preste João das Índias de Francisco Álvares et le Livro do Oriente de Duarte Barbosa. / The Portuguese discoveries were an essential step in the meeting between the West and the East. Although the East wasn’t a land completely unknown by the Europeans, the distance and the difficulties that the western travellers who were going to the East during Middle Ages had to face with, made the informations they transmitted goods almost as rare and precious than the spices or fabrics for which they had taken the famous silk road. The significant success of the relation of the renowned Italian explorer Marco Polo demonstrates the interest that the East provoked in these times. This account left a deep impression and continued to spread marvels and myths in the European imagination until the early XVIth century. Before the first travel of Vasco da Gama (1497-1498) and despite the trade of the Silk Road, the knowledge of the East remained approximate, indeed sometimes fanciful. After the discovery of the sea route to the Indies, the meeting of the Portuguese with the East permitted to update this knowledge. The Portuguese travellers offered to the Europeans, accounts that broke with the medieval tradition, reporting observations made in loco and as a consequence closer to the eastern reality. But although these travellers contributed to the demystification of some myths linked to the East, the image of the East they transmitted continued to be ruled by the laws of imagination. Our tesis will talk about the Renaissance’s image of the East and constitute a study of the images and symbols that were associated to the East by five Portuguese travel accounts of the XVIth century. So as to determinate the permanences and the evolutions of this image, we will at first talk about the image of the East from Antiquity to Middle Ages. Then we will talk about the Renaissance’s image of the East by studying five Portuguese travel accounts that we consider representative of different aspects of this new mythical image of the East. This accounts being Peregrinação of Fernão Mendes Pinto, Algumas coisas sabidas da China of Galiote Pereira, the Tratado das Coisas da China of Gaspar da Cruz, the Verdadeira Informação das terras do Preste João das Índias of Francisco Álvares and the Livro do Oriente of Duarte Barbosa.

[pt] Com bordas móveis, o sertão parece ajustar-se à plasticidade imaginária do seu tempo, encenando em seu território disputas estéticas, éticas e políticas que o demarcam, forjando novas e sempre fluidas fronteiras para a região. Este trabalho propõe um percurso crítico pela cartografia simbólica do sertão, da modernidade à contemporaneidade, seguindo o traçado proposto por alguns escritores e um cineasta que forjaram imagens constituintes da região. A análise parte do esforço empreendido por artistas que, em tempos e modos distintos, ousaram aproximar paisagem e linguagem para estabelecer – ou propositalmente desbordar – um esboço e um contorno para o sertão. A pesquisa se inicia pelos restos de um sertão monumental, tecido e destecido por Euclides da Cunha e Guimarães Rosa. A proposta é analisar os resíduos da escrita de Os sertões – ou o que ficou perdido entre anotações dos textos marginais e excesso de referências teóricas – para chegar à marginalia produzida por Guimarães Rosa durante a leitura da obra máxima de Euclides e às anotações de viagem coletadas pelo autor mineiro para a escrita de Grande sertão: veredas. Lidos em diálogo, Euclides da Cunha poderia ser o viajante letrado para quem o protagonista de Guimarães Rosa narra o que ficou submerso pelo projeto republicano de silenciamento histórico, fazendo ouvir o silêncio, o instável e o indomável, em uma reflexão radical dos limites do pensamento e da linguagem. Puxando o fio de um sertão feito de letras, investigam-se autoras que reviram do avesso esse interior estranho e estrangeiro ao restante do país deslocando-o para as margens das grandes cidades e de existências miseráveis; que se esforçam para circunscrever o vazio demarcando-o com palavras, enquanto revelam a condição estrutural da falta e do impossível de (d)escrever. Clarice Lispector (A hora da estrela), Marilene Felinto (As mulheres de Tijucopapo) e Carolina Maria de Jesus (Quarto de despejo) narram as marcas deixadas por um sertão que chegou à beira das cidades, invadiu ruelas, quartos e barracos na periferia das metrópoles, tatuou corpos e destinos dos herdeiros de uma diáspora. Contraditoriamente, a mesma paisagem que convoca à demarcação de fronteiras é também um convite à ultrapassagem, capaz de pôr em xeque a delimitação de suas margens. Nesse sentido, o lusoangolano Ruy Duarte de Carvalho (Desmedida – Luanda – São Paulo – São Francisco e volta) e o cineasta Glauber Rocha (Deus e o diabo na terra do sol) propõem-se a explorar um mais além que escapa por entre as linhas, cartográficas ou simbólicas; um espaço que porta a dimensão do inalcançável, impulso ao movimento e à travessia. Leitores de Guimarães Rosa e de Euclides da Cunha, ambos se colocam em cena, suturando corpo e linguagem, para produzirem obras de borda – ou litorâneas – que marcam o encontro entre campos híbridos e heterogêneos, preservando suas singularidades. Terceira margem. / [en] With shifting borders, the sertão (backlands) seems to adjust to the imaginary plasticity of its time, staging aesthetic, ethical and political disputes in its territory that demarcate it, forging new and ever-fluid borders for the region. This work proposes a critical journey through the symbolic cartography of the sertão, from modernity to contemporaneity, following the path proposed by some writers and a filmmaker who have forged images of the region. The analysis is based on the efforts made by artists who, at different times and in different ways, dared to bring landscape and language together to establish - or purposely blur - an outline and a contour for the sertão. The research begins with the remains of a monumental sertão, woven and torn apart by Euclides da Cunha and Guimarães Rosa. The proposal is to analyze the residues of the writing of Os sertões - or what was lost between notes from marginal texts and an excess of theoretical references - to arrive at the marginalia produced by Guimarães Rosa while reading Euclides greatest work and the travel notes collected by the Minas Gerais author for the writing of Grande sertão: veredas. Read in dialogue, Euclides da Cunha could be the literate traveler to whom Guimarães Rosa s protagonist narrates what was submerged by the republican project of historical silencing, making silence, the unstable and the indomitable heard, in a radical reflection on the limits of thought and language. Pulling on the thread of a sertão made of letters, we investigate authors who have turned this strange interior inside out, foreign to the rest of the country, moving it to the margins of big cities and miserable existences; who strive to circumscribe the emptiness by demarcating it with words, while revealing the structural condition of lack and the impossibility of writing. Clarice Lispector (A hora da estrela), Marilene Felinto (As mulheres de Tijucopapo) and Carolina Maria de Jesus (Quarto de despejo) narrate the marks left by a sertão that arrived on the edge of cities, invaded alleys, rooms and shacks on the outskirts of metropolises, tattooing the bodies and destinies of the heirs of a diaspora. Contradictorily, the same landscape that calls for the demarcation of borders is also an invitation to go beyond, capable of calling into question the delimitation of its margins. In this sense, the Portuguese-Angolan Ruy Duarte de Carvalho (Desmedida - Luanda - São Paulo - São Francisco e volta) and the filmmaker Glauber Rocha (Deus e o diabo na terra do sol) set out to explore a beyond that escapes between the lines, cartographic or symbolic; a space that carries the dimension of the unreachable, an impulse to movement and crossing. Readers of Guimarães Rosa and Euclides da Cunha, both put themselves on the scene, suturing body and language, to produce border - or coastal - works that mark the encounter between hybrid and heterogeneous fields, preserving their singularities. Third margin.

Submitted by WILLIAN DIEGO OLIVEIRA null (willian@ibilce.unesp.br) on 2017-09-18T03:59:17Z No. of bitstreams: 1 Tese Final.pdf: 21063949 bytes, checksum: 766c3ca9aab9ca1a33dd27bf06043b1d (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-19T19:05:58Z (GMT) No. of bitstreams: 1 oliveira_wd_dr_sjrp.pdf: 21063949 bytes, checksum: 766c3ca9aab9ca1a33dd27bf06043b1d (MD5) / Made available in DSpace on 2017-09-19T19:05:58Z (GMT). No. of bitstreams: 1 oliveira_wd_dr_sjrp.pdf: 21063949 bytes, checksum: 766c3ca9aab9ca1a33dd27bf06043b1d (MD5) Previous issue date: 2017-05-11 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Estudamos tópicos relacionados a zeros de séries de Dirichlet e de funções inteiras. Boa parte da tese é voltada à localização de zeros de séries de Dirichlet via critérios de densidade. Estabelecemos o critério de Nyman-Beurling para uma ampla classe de séries de Dirichlet e o critério de Báez-Duarte para L-funções de Dirichlet em semi-planos R(s)>1/2, para p ∈ (1,2], bem como para polinômios de Dirichlet em qualquer semi-plano R(s)>r. Um análogo de uma cota inferior de Burnol relativa ao critério de Báez-Duarte foi estabelecido para polinômios de Dirichlet. Uma das ferramentas principais na prova deste último resultado é a solução de um problema extremo natural para polinômios de Dirichlet inspirado no resultado de Báez-Duarte. Provamos que os sinais dos coeficientes de Maclaurin de uma vasta subclasse de funções inteiras da classe de Laguerre-Pólya possuem um comportamento regular. / We study topics related to zeros of Dirichlet series and entire functions. A large part of the thesis is devoted to the location of zeros of Dirichlet series via density criteria. We establish the Nyman-Beruling criterion for a wide class of Dirichlet series and the Báez-Duarte criterion for Dirichlet L-functions in the semi-plane R(s)>1/p, for p ∈ (1,2], as well as for zeros of Dirichlet polynomials in any semi-plane R(s)>r. An analog for the case of Dirichlet polynomials of a result of Burnol which is closely related to Báez-Duarte’s one is also established. A principal tool in the proof of the latter result is the solution of a natural extremal problem for Dirichlet polynomials inspired by Báez-Duarte’s result. We prove that the signs of the Maclaurin coefficients of a wide class of entire functions that belong to the Laguerre-Pólya class posses a regular behavior. / FAPESP: 2013/14881-9

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In the early 1990s, a series of gruesome murders of young women in Ciudad Juárez, a city located in the U.S.-Mexico border, shook the political landscape of Mexico. A decade later, the strange and violent murders, known as the feminicides or feminicidios of Juárez, reached international infamy across hemispheres and continents. During this time, the city and the cases became the subjects of an extensive body of scholarship and of any imaginable artistic medium (narrative, poetry, theater, performance, music, and so on). Eventually, the complexity and overexposure of the cases and the sociopolitical conditions of Ciudad Juárez placed them at the center of a paradoxical debate: on one hand, the work of activists, feminists, and scholars of social sciences (like anthropologists and sociologists) studied the murders as a localized example of a larger phenomenon of mysoginistic violence; on the other, journalistic and media investigations of Juárez understood the murders as the products of specific agents (serial killers, murderers, drug cartels, amongst others) and the fractures within the Mexican Nation-State. And yet, despite the expansion and overlapping of these discourses, fictional representations of Juárez remained tangential to this intricate debate. Thus, this research explores the different ways in which writers, artists, and filmmakers deployed and negotiated existent perspectives on the feminicides within fictional environments. As a result of the vast amount of published work available on Ciudad Juárez, I narrowed the objects of my research through a transnational scope. The resulting sample of texts transverses borders (Mexico and the U.S.), continents (Latin America and Europe), genres (fiction and nonfiction), and mediums (literature and film). The first chapter explores the connections of Sergio González Rodríguez’s Huesos en el desierto and Roberto Bolaño’s 2666 through the theoretical framework of the possible worlds of fiction. The second chapter moves to issues of representation, gender, and race through the analysis of two novels written by Chicana scholars: Alicia Gaspar de Alba’s Desert Blood: The Juárez Murders and Stella Pope Duarte’s If I Die in Juárez. Finally, the third chapter focuses on film representations of Juárez and the feminicides in the form of Gregory Nava’s Bordertown and Carlos Carrera’s Backyard/El Traspatio. / text